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and the latter as the elephant spirit. Anthropologist Simon
Ottenberg also ties masquerade performances to a duality, but he sees their function as primarily relating to gender difference and the initiation ritual during which Igbo boys become men. Young women are excluded from performing and are, therefore, passive witnesses. The rituals associated with mask-wearing establish and maintain gender difference. Additionally, the experience of ritual mask-wearing is related to the alleviation of sexual and social anxieties that result from the boy moving from his childhood home and away from his mother.
20:
60:
As such, general studies of Igbo art do not exist. An added difficulty in studying Igbo art is that there is no clear consensus on who counts as being a member of the Igbo culture. There is often a tension between self-identification and external classification which means that the identity is fluid and continually re-negotiated. Understanding the developments of Igbo art production is often hindered by the assumption that forms of "traditional" art remain unchanging.
92:
of masks emphasizes the object itself which is not always the most important aspect of the multimedia and multisensory ritual performance. Without the full costume and the atmosphere of music, spoken or sung word, and physical movements, the full meaning of masks is lost. The same physical object, when placed in different performance contexts, can symbolize different things which makes interpretations difficult after collection.
211:
has complex associations. Unfortunately, the removal of the objects from their original context inhibits the degree to which meaning can be reconstructed. The practical and artistic qualities of the works are complementary but display strips clay vessels of their everyday uses. It has been argued the process of shaping the natural material of clay is a starting point for aesthetic and metaphysical value within the Igbo culture.
207:
container usually has two lug handles, one on either side, which may indicate that the objects were suspended using rope. Another possibility is that the handles could be used as the anchoring points for ropes that held a stopper in place. Often decorated with various colors and motifs, contemporary vessels are used for both practical utilitarian purposes such as carrying water or storing foods and ceremonial purposes.
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314:. Members of sufficiently high rank are entitled to commission sculptors to carve the panels. Carved doors and panels were also apparently adopted or used in the houses of wealthy families as a means of displaying wealth. Igbo doors are delicately carved with deeply cut abstract designs in striated and hatched patterns that catch the sunlight to produce high contrasts of light and shadow.
73:
secret aspects of the ritual are limited to initiated men who then have access to the supernatural tools necessary to contend with pressing socio-cultural concerns. Overall, however, the ceremonies serve as the site for important processes of communal healing, continuity, and connection. Joy is intermixed with grief as the living are able to again interact with those that have been lost.
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the house itself, male and female spaces exist through the work performed. Accordingly, the objects within the gendered sections gain meaning through the associations with the work and activities that occur there. Mbari houses are seen as taking on a larger societal significance beyond just being shelters. They become reflections of the cosmos and a cycle of rebirth.
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influences that perpetuate the traditional aims of the activity. As such, they should not be considered new and unique art forms but rather the result of the adaptation of imported elements. Pre-colonial conceptions of aesthetic experience and artistic goals were re-worked and understood through new paradigms introduced by cross-cultural movements.
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the more widespread acceptance of modern influence coinciding with intense economic development resulted in the extinction of Igbo pottery in some areas. The traditional importance of the vessels in some locales has been cited as a driving force for continued production despite the influx of mass-produced containers.
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Ethnographic studies have demonstrated that the production of traditional Igbo pottery has declined as a result of the spread of
Western technologies. The heightened cross-cultural connections in the period immediately following de-colonization led to a period of peak production. Eventually, however,
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had a metalworking art that flourished as early as the ninth century." (though this date remains controversial). Three sites have been excavated, revealing hundreds of ritual vessels and regalia castings of bronze or leaded bronze that are among the most inventive and technically accomplished bronzes
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For contemporary viewers of masks within the context of museums, the inability to see such sculptures in motion as part of performances makes understanding difficult. The effect intended by the artist in terms of experience is limited to the one static perspective that display permits. The exhibiting
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The relative lack of centralization that characterized Igbo forms of governance has resulted in greater difficulties in terms of the scholarly study of artistic productions. Lacking the expansive and hierarchical as well as widespread mythology of, for example, the Yoruba, Igbo art is more localized.
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In addition to the famous bronzes, clay vessels were discovered at the Igbo Ukwu archeological site that bear striking resemblance in terms of design to those produced during the twentieth century. The most common type in this long legacy of production is the narrow-mouth bottle design. This kind of
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of copper and its alloys in West Africa, working the metal through hammering, bending, twisting, and incising. They are likely among the earliest groups of West
Africans to employ the lost-wax casting techniques in the production of bronze sculptures. Oddly, evidence suggests that their metalworking
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These masks showcase an ideal image of an Igbo maiden. This ideal is made up by the smallness of a young girl’s features and the whiteness of her complexion, which is an indication that the mask is a spirit. This whiteness is created using a chalk substance used for ritually marking the body in both
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Within some portions of northern
Nigeria, Igbo communities continue to utilize masquerade events in order to maintain connections with the deceased. Masks become physical embodiments of those no longer living which facilitates the flow of blessings and knowledge between generations. Knowledge of the
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In Mbari houses, there is a close relationship between where material objects are placed within the domestic environment and their symbolic significance. Domains within the house reflect societal dynamics outside on the house. The house delineates the private space from the public space, and within
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Popular
Western perceptions of art as works removed from daily life have resulted in a misunderstanding of the abstract meanings applied to potted vessels in the Igbo tradition. Clay objects often have physical uses but also spiritual and aesthetic uses. Decoration is often seen as superficial but
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Masks have been used for a variety of purposes within Igbo culture in both historic and modern times. For specific segments of the Igbo population, some mask pairs have been traditionally interpreted as representing the duality of beauty and ugliness. The former being depicted as the maiden spirit
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The use of masks within Igbo culture has been usually portrayed as an uninterrupted tradition or as a tradition impossibly altered by cross-cultural interactions. More recent scholarship, however, perceives contemporary Igbo masquerade performance to be the product of selectively-adapted external
122:. At these performances men dance as adolescent girls, miming and exaggerating the girls' beauty and comportment. The performance is also accompanied by musicians who sing tributes to both real and spirit maidens. The following are examples of quotes that may be heard during a performance :
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The carved wooden doors establish the boundary between the inner space of the structure and the area outside. The visibility of the works and their location on the boundary permit them to serve as both a warning and an invitation to the viewer. As markers of status within the Ozo society, the
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Otherwise known as the Queen of Women, this mask represents a wealthy, senior wife and grandmother who commands enormous respect in the village. She embodies the ultimate feminine ideals of strength, wisdom, beauty, stature and dignity, and is a leader among women.
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carvings act as visual representations of the status and privileges of the household. In consideration of the house as a reflection of the human body or entire cosmos, the door have been equated to the human skin which provides structure and order.
47:. The Igbo produce a wide variety of art including traditional figures, masks, artifacts and textiles, plus works in metals such as bronze. Artworks from the Igbo have been found from as early as 9th century with the bronze artifacts found at
55:
influences, the vocabulary of fine art and art history came to interact with established traditions. Therefore, the term can also refer to contemporary works of art produced in response to global demands and interactions.
275:, although by 1970 it had lost much of its popularity, and was being kept alive by a handful of contemporary artists. It was usually practiced by women, who would decorate each other's bodies with dark
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repertory was limited and Igbo smiths were not familiar with techniques such as raising, soldering, riveting, and wire making, though these techniques were used elsewhere on the continent.
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and ancestors. Mbari houses take years to build in what is regarded as a sacred process. When new ones are constructed, old ones are left to decay. Everyday houses were made of mud and
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Ali, Vincent Egwu (2014-07-01). "A Critical Survey of the Growth, Decline, and
Sustainability of Traditional Pottery Practice among the Igbo of South Eastern Nigeria".
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with bare earth floors with carved design doors. Some houses had elaborate designs both in the interior and exterior. These designs could include
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Ogbechie, Sylvester
Okwunodu (2005). "The Historical Life of Objects African Art History and the Problem of Discursive Obsolescence".
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The Igbo use carved wooden panels as entrance to doorways into the compounds of titled members of the prestigious men`s association
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sale of two Igbo sculptures and repatriate the items in question back to
Nigeria. The two sculptures were bundled together with a
340:-Igbo are large opened-sided square planned shelters. They house many life-sized, painted figures (sculpted in mud to appease the
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Gordon
Campbell, The Grove encyclopedia of decorative arts: Aalto to Kyoto pottery, Band 1 Oxford University Press, 2006 p.326
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147:, embellished with representations of hair combs, and other objects, modeled after late 19th century ceremonial hairstyles.
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This mask is worn in performances that occur at funerals and ceremonies that purify the village and other communal places.
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352:, with other deities of thunder and water). Other sculptures are of officials, craftsmen, foreigners (mainly Europeans),
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287:; designs would sometimes be produced for the most important market days as well. Designs would last about a week.
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Agbogho mmuo, or Maiden Spirit masquerades perform annually during the dry season in the Nri-Awka area of northern
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Blier, Suzanne
Preston (1988). "Words about Words about Icons: Iconologology and the Study of African Art".
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Okoye, James Chukwuma (2010). "Cannibalization As Popular Tradition in Igbo Masquerade Performance".
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and lack perspective; they do, however, balance positive and negative space. Designs are frequently
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Reed, Bess; Hufbauer, Benjamin (2005). "Ancestors and Commemoration in Igbo Odo Masquerades".
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Anklet beaten from a solid brass bar of the type worn by Igbo women. Now in the collection of
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1093:"Waning market for African artefacts? Controversial Benin bronze fails to sell at Christie's"
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143:, created and exhibited on the skin of Igbo women. Some maiden spirit masks have elaborate
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Igbo Bronze ceremonial vessel in form of a snail shell, 9th century, excavated at
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Frederick, Warren (2003). "The Inescapable, Indivisible Essence of Pottery".
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Cole, Herbert M. (1988). "Igbo Arts and Ethnicity: Problems and Issues".
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generally is not sacred, apart from those images painted on the walls of
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404:. The auction went ahead, although no buyer showed interest in the lot.
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768:"Maiden Spirit (Agbogho Mmuo) Helmet Mask | Michael C. Carlos Museum"
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Ottenberg, Simon (February 1983). "Igbo and Yoruba Art Contrasted".
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688:. New York and Washington: Praeger Publishers. pp. 172–174.
560:. New York and Washington: Praeger Publishers. pp. 180–182.
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982:. Geographic influences, Palaces and shrines, last paragraph:
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The Art of African Clay: Ancient and Historic African Ceramics
571:
Ottenberg, Simon (1988). "Psychological Aspects of Igbo Art".
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51:. With processes of colonialism and the opening of Nigeria to
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ever made. The people of Igbo-Ukwu, ancestors of present-day
163:. The leg-tube extends approx 7cm each side of the 35cm disc.
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http://www.hamillgallery.com/IGBO/IgboDoors/IgboDoors.html
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is the name given to the traditional designs drawn by the
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Alice Apley says: "It is possible that the inhabitants of
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Household Objects and the Philosophy of Igbo Social Space
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Reading Chinua Achebe: Language & Ideology in Fiction
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and created in conjunction with some community rituals.
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Birmingham Museum of Art : guide to the collection
396:. Some have speculated the two sculptures were sold by
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GI Jones Photographic Archive of southeastern Nigeria
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43:) is any piece of visual art originating from the
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897:Neaher, Nancy C. (1981). "Igbo Carved Doors".
793:"Collections | National Museum of African Art"
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1035:. Indiana University Press. pp. 214–240.
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541:: CS1 maint: DOI inactive as of June 2024 (
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746:. : Birmingham Museum of Art. p. 69.
333:Igbo art is noted for Mbari architecture.
128:si n’igwe: The masked spirit from the sky
256:, and are often painted spontaneously.
946:. James Currey Publishers. p. 52.
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279:to prepare for village events, such as
139:. The chalky substance is also used in
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608:RES: Anthropology and Aesthetics
380:In 2020, Nigerian art historian
651:Research in African Literatures
1008:National Museum of African Art
984:Britannica Online Encyclopedia
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80:Maiden Spirit helmet mask of
686:African Art: An Introduction
558:African Art: An Introduction
833:The Journal of Modern Craft
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368:designed by Igbo women.
169:Archaeology of Igbo-Ukwu
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899:African Arts
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1572:Igbo people
1228:Women's War
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701:Art Journal
382:Okeke-Agulu
329:Mbari (art)
236:Igbo people
45:Igbo people
1777:Delta Igbo
1721:(religion)
1699:Literature
1535:Awka-Etiti
1103:2020-07-24
1017:2008-12-19
989:2008-11-23
959:2008-12-19
802:2019-05-08
778:2008-07-25
408:References
386:Christie's
301:Awka-Etiti
141:uli design
1545:Abakaliki
1520:Ugwu Ọcha
1424:Geography
1257:Subgroups
1198:Igbo-Ukwu
1077:17 August
1051:ignored (
1041:cite book
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186:Igbo Ukwu
179:Igbo-Ukwu
145:coiffeurs
49:Igbo Ukwu
1868:Igbo art
1862:Category
1846:Category
1787:Ika Igbo
1770:Dialects
1736:Language
1729:Language
1677:Highlife
1652:Calendar
1589:Dominica
1584:Barbados
1428:Igboland
1378:Politics
1339:Nri-Igbo
740:(2010).
628:20167662
529:20447736
285:funerals
281:marriage
273:Igboland
195:smithers
120:Igboland
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31:Igbo art
1792:Ikwerre
1719:Odinala
1687:Odumodu
1657:Cuisine
1639:Culture
1604:Jamaica
1550:Umuahia
1454:Bayelsa
1449:Anambra
1405:Nigeria
1364:Ukwuani
1359:Onitsha
1299:Ikwerre
1248:Nigeria
1171:History
927:3336006
593:3336531
486:3336525
443:3335850
398:Biafran
366:Uli art
354:animals
262:shrines
240:Nigeria
202:Pottery
53:Western
1751:Igboid
1594:Canada
1540:Nsukka
1515:Owèrrè
1505:Énugwú
1479:Rivers
1459:Ebonyi
1437:States
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1757:Names
1704:Names
1692:Ogene
1672:Music
1614:Saros
1609:Japan
1530:Nnewi
1500:Ahaba
1469:Delta
1464:Enugu
1369:Waawa
1354:Ohuhu
1329:Ndoki
1284:Etche
1188:Lejja
923:JSTOR
857:S2CID
717:JSTOR
667:S2CID
632:S2CID
624:JSTOR
589:JSTOR
525:JSTOR
482:JSTOR
439:JSTOR
390:Paris
342:Alusi
323:Mbari
64:Masks
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1797:Izzi
1744:Igbo
1667:Jews
1577:list
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1444:Abia
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1334:Ngwa
1324:Mgbo
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1289:Ezaa
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1162:Igbo
1079:2020
1053:help
948:ISBN
915:ISSN
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543:link
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